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is georgia's largest african american museum. our mission is to educate people about african american art, history, and culture, and we do this in a lot of different ways. but for me, beverly buchanan's show of shacks, which we've entitled "coming home," is one of the best ways we've ever done this. beverly has strong macon connections. and i think a lot of the groundwork for these shacks came to her while she was living in our community. and she's just added a figure, a large-scale, monumental figure, to onef the pieces. and i think that's an exciting and significant change. the name of the piece is called "harriet's shack," and it's harriet tubman, who the museum is named for. we honor her as a woman of strength and courage, and i think beverly does too by making her two stories tall and this giant woman that is conveying power and courage. but also there are flowers all over her dress, and she looks like she's someone you'd want to get to know. these are places that black and white, rich and poor, we all see and understand. these pieces just, i mean, they seem to dance. the colors, the
made a fortune consolidating railways and was reputed to be the richest man in the south. well-educated, well-traveled, cultivated, walters, like morgan, had a taste for precious objects. nevertheless, he felt it was important to include a raphael in his collection. in 1901 walters acquired the madonna of the candelabra, believed to be at least partly by the master's own hand. scholars attribute the virgin and child to raphael and the angels to an assistant. walters proudly displayed his madonna in a gallery which he built adjacent to the family house in baltimore. owning a raphael had a significance beyond that of acquiring a beautiful work of art. he was the only artist whose prestige had endured all changes of taste and fashion. the next raphael acquisition marked the coming-of-age of america as a nation of collectors. the small cowper madonna, which mrs. gardner had coveted, was sold to the wideners in 1914 for the highest price that had ever been paid for a painting. outside philadelphia, the wideners built one of the grandest estates of the gilded age. re, they lived the life of a
choose?" when jews vote, it's almost like a genetic imprint - perhaps successful jewish education for a few thousand years. the first three, they always vote for en masse - the majority - is the story of creation, the story of exodus, and the story of sinai, the making of the covenant, the giving of the torah. so somehow it works. those in judaism are the - that's the myth, as you put it, that is a way of expressing truth for us, the existential truth. the three archetypal stories - that is, you move in - even in our liturgy, the original liturgy is organized that way - you move from creation, but then religiously, the rabbis reverse the chronology - you move from creation, through the event of sinai - that is, the people entering into covenant, the giving of the teaching, and from there, to the universal exodus. but of course the exodus story is part of the mentality of the jewish people. so it's like moving from creation to the universal redemption or the messianic age or the kingdom of god, and the liturgy is structured that way - the world of peace, inequity, and so forth, whi
Search Results 0 to 2 of about 3